New Artist Alert: These Days

That this band share their name with my favourite Bon Jovi album has no bearing on my wanting to share them with you...honest. I don't think there's much more correlation to draw from anyway, so I'll lay that to rest now (on a bed of roses perhaps?) and get on with this feature. This quartet from Salisbury are set to launch their six-track mini album titled 'Hope and Glory' of which I've reviewed a few tracks from below. The guys 'take inspiration from the likes of Foo Fighters and Brand New; These Days have an exciting and different outlook on music'. I'm excited to hear what this rock/pop/punk outfit can bring to the table...

Glory/ A much calmer introduction to the CD than I expected considering the band's influences and pop-punk description. Glory starts life as a soothing, almost folk-tinged track, gaining momentum as the drums hope to pull it from its Mumford & Sons' clutches whilst melodic guitars and quintessential vocals stake their claim and dig in their heels. The track has a progressive feel to it as the mix is enriched with a growing musical spectrum and a really refreshing sound. Just past the one minute mark the track kicks in with a strong and epic-sounding chorus before dipping, showcasing the great-sounding vocals and imaginative backing harmonies. There's a fantastic guitar riff that kicks in, lifting the track many miles away from it's roots a mere two minutes ago but it's been such a progressive and cleverly crafted journey that nothing is out of place. A fabulous start.

Always/ Is it too much of a coincidence that the band share another Bon Jovi song title? I'm certain this won't be a cover (and for the sake of the review, will stop with the references now!). An edgier second track kicks in, the vocals reminding me of the All American Rejects before a short pre-chorus introudces a half-time feel that texturally allows the track to grow. The vocals take on a more Gerard Way sound here, or at least some of the melodies remind me of him, as frantic drums and guitar work take over as the second verse enters. The snare strokes on the drums are perhaps a little overkill every bar, it may have been more effective every two or perhaps even every four as it creates quite a busy sound., but the impact of the half-time second chorus is heightened by this. The subtle backing vocals add a lot to the track, and the breakdown section really allows for the rhythm section to step into the limelight as winding guitar works away in the background. More vocals enrich this section before the last double chorus kicks in, the latter making the leap to a double-time feel which is a great touch, before a very abrupt and unexpected end.

Misery/ I love the sound of this as the track starts off with everyone all-in; the drums really fight for centre stage against the dual-layered lead-vocals with a great tom-driven beat topped with uplifting hits on the bell of the ride. The vocals eventually stride on ahead in the final straight as an interesting and chunky chord progression highlights the changing section before the chorus comes around in almost two parts (unless I've misread the specific sections). I love the minor-sounding first-half of the chorus (or extended pre-chorus!) as the vocals stick close to the home key, always threatening to leap up into the next octave. It's a lovely interval, as they eventually leap a fifth above (tonic to dominant; a winning formula!) which creates a really uplifting section against the same interesting chord progression that was featured before; listen out for the ingenious second chord that adds a real alternative touch. I'm not sure how much thought has gone into the arrangement of the track but either way the effect on the listener is perfect. Suddenly a punky-section kicks in and I've realised that this band are the masters in really mixing up the theme of a track, dipping in and out of many different sub-genres whilst maintaining an over-riding feel. It's a great asset they hold and they pull it off perfectly.

I've genuinely enjoyed listening to a really refreshing sound that thinks outside the box and really pushes the pop-punk boundaries in a way that can keep the genre alive. To think this EP started off with a Mumford-esque feel, only to morph seemlessly into a MCR drive really pays a compliment to the song-writing abilities of this band and I hope they are the pioneering force to be reckoned with. As the 'same old' pop-punk genre threatens to die out a boring and drawn-out death, finally someone is taking it upon themselves to help give birth to its sister genre and, lest we forget, every genre of music we listen to once started life as something very different. I urge you to check out These Days on Facebook and either get yourselves a copy of the mini-album or catch them live. Brilliant stuff.

Boy Set Sail - We're Almost There EP Review

Do you remember my introduction of Boy Set Sail with their EP sampler recently? Well the EP, entitled We're Almost There, is now available and I've had a little listen myself. Check out my review below and be sure to get yourself a copy to help support our struggling young music scene.

Track 1/Rewind/ A strong and anthemic start to the CD highlights a cool-sounding pop song with fantastic lead vocals and a great song-writing abilitiy. Backing vocals help to support the main vocals throughout as the lead guitar dabbles in cheeky lead-lines here and there adding a little more colour to the track. It's quite a short song coming in at just 2.30 mins but packs a strong and determined punch nonetheless.

Track 2/Believe/ Starts in a similar way to its predecessor with chugging, palm-muted guitar and introspective vocals before the rest of the band enter. The chorus is strong, once again led by the vocals and there's a lot of energy in the track but I'm not sure the production does the overall CD justice. The drums in particular sound a little deflated and the whole EP could perhaps do with some more brightness and texture to help it really jump out. This, of course, isn't to take away from the song-writing and arrangements; although Believe is even shorter than Rewind, all the tracks demonstrate a great interest and awareness of the genre and the band demonstrate this well with really tight performances.

Track 3/You Are/ A mix of double and half-time rhythms introduce the mid-way part of the EP with a more interesting track. There are some unexpected chord progressions which are welcomed and some progressive work as the track builds, introducing new guitar ideas in the second verse and a fluent breakdown section. The final chorus kicks in really well with loads of energy from the drums, again playing with the rhythms, before settling for a relentless double-time feel as the lead vocals step further into the limelight with some strong final notes.

Track 4/All These Things/ A confident start and some more cool-sounding chord progressions. The verses rock but the chorus is a little weak in comparison and doesn't stand out on its own as much as others on the EP have done so. This might be because the vocals lead the chorus sticking too close to the home key as in the verses and don't break up into the next octave until the end of the second line; the chorus needs to pack a punch all of it's own and not amble so politely in from the verse. It's a safe track; by all means sounds good and fits in perfectly with the rest of the EP but it's no highlight for me.

Track 5/ This Time Around/ Track 5 marks the end of the journey with Boy Set Sail and safely remains well within the pop-punk bordera showcasing strong lead vocals, supportive backing, frantic bursts of drum fills and confident lead-guitar lines. I'm glad the vocals remain with an unashamed English accent and haven't adopted a bad American twang; there's nothing worse with UK pop-punk than when bands feel the need to completely emulate our cousins across the pond in every which way. The breakdown here sounds cool, bravely sticking with just vocals and guitar for quite a length of time but it pays dividends when the rest of the band are re-introduced. The song, especially the ending, definitely has a finalising quality to it that rounds off the EP well. The band have definitely honed their sound and I'm sure are even better live, matched on a like-with-like bill and with a bit more volume and brightness behind them. They're brilliant at what they do but I'm not sure the sound of the EP in general has enough for them to stand out in a very crowded sea of pop-punk enthusiasts. The ideas and musicality are great and I wish the boys every success but I'm worried that the sound is a little too familiar in terms of what a pop-punk audience might expect and sometimes you've got to step outside the box to ensure your voice is heard.

You can purchase your copy of the EP from iTunes or from the label's website where you can keep up to date with the band.

New Artist Alert: Two Types of Clothing

When We Were Beautiful is proud to introduce Two Types of Clothing, a hard-edged pop-punk trio who come bursting onto the scene already with loads of gigging experience. The guys hope to add to this soon when they become of driving age (17 in the UK) and have the freedom of the open road ahead of them. In the meantime, their current three-track EP 'It's Not Our Fault' fell into my proverbial lap and I was more than intrigued to have a listen...

Track 1/The Truth's Off The Bed/ A poetic title that sets the lyrical scene for the track, as a strong guitar riff builds, guiding us through the accompanying half-time feel then all-out double time massacre. I love the chords playing behind the main riff; it's a very genre-specific riff and feel. The vocals are all-out punk with a quintessential hint of English charm and, to be honest, it's refreshing to hear male vocals over a pop-punk track without a pretentious American tinge. The guitar threatens to burst in throughout the verses as the rhythm section drives along relentlessly, eventually parting for the half-time feel chorus. The breakdown goes exactly where it needs to, with a great intro to it and the solo is just what was called for; predictable perhaps but for all the right reasons. The band tease with the final chorus, letting big guitar chords ring and introducing a hi-fi vocal sound before everything falls back into place for one final flourish. A really explosive opener with great energy.

Track 2/Picks and Sticks/ A prickly guitar riff opens up to a more melodic and dynamic pattern as it introduces the second track that's just as ferocious as the first. This band's all about the riffs and I can really appreciate the song-writing abilities of the band; they're tight and all very capable musicians topped off with really raw and confident vocals and great musical ideas. The verses are imaginative and the chorus comes like a punch in the face, hitting you like a freight train and not leaving any prisoners but it's not so heavy that it wouldn't work on Radio 1 which is a great balance I think the band have struck. The guitar chords that ring out in the breakdown sound a little weak against the drums and could do with a little more volume and reverb on them. I think they just sound a tad dry but it's nothing to do with the arrangement, more about post-production work. The section it feeds into though sounds great and again the chord progression and the specific voicings really work well. It dips once more before gaining volume for the final chorus, adding to the impact that the punch of a final chorus should pack.

Track 3/Limitations/ A crackly, feeding-back intro filters through before the guitar riff welcomes us to the final track of the EP, I think the only criticism I would have is that all the intros are quite lengthy; it was almost a full minute before the vocals came in and I think listeners (and record execs alike) want to be grabbed as soon as possible to maintain their interest. The harmonies explored here work really well and are really nice to hear; the track itself isn't as strong as its predecessors but the addition of backing vocals helps it to stand its own. The drummer sounds great in this track, really showcasing himself well with loads of flashy fills and busy grooves; the breakdown is guitar-led and could easily lead to a solo but works equally well feeding back into the chorus. The song ends well and caps off the EP perfectly.

Two Types of Clothing are hitting the studio again soon to record a track that will be available on iTunes for a pocket-friendly 79p so be sure to check that out soon and keep up to date with the guys on their Facebook page where you'll also find a rocking version of Katy Perry's Teenage Dream!

EP Review: Four Weeks Inbetween - Chasing Wasted Time

It's a Friday night at The Joiners, Southampton's premier small rock venue, and hoards of loyal teenage supporters are kitted out with the latest t-shirt from the pop-punk wonderkids Four Weeks Inbetween, emblazoned with their slogan 'You Hide Behind Your Tainted Smile'. They are eagerly awaiting the band's headline set at their EP launch show, and all the sweat and shoving that goes with it. The band had a great crowd for a local show that stuck around for the entire set and were eager for more. Even more impressive was that, the band's vocalist, Luu McGonagle, had them in the palm of her hand. If she said jump, they jumped. If she said singalong, they knew all the words. But it wasn't cringey like it could have been, far from it; it was admirable. Friends joined in for signature tracks, either on the floor or by crashing the stage and there was a lot of energy and fun in the room. These guys look the part, sound the part and most importantly, act the part, and I wish them all the luck in the world for the future.

And now onto the EP; Chasing Wasted Time. Physically it's a very professional product, in plastic case with printed CD, great artwork, and a small booklet which features photos of the band and lyrics for their two singles. But I know you're much more interested in the audio rather than the visual...

Track 1/Sit Tight/ An explosive opener to the CD with strong vocals from the outset shared between lead and backing. The guitar is afforded a sudden break showcasing imaginative writing before the really strong chorus drops which has a great vocal hook. The rhythm section is steady and pulsating throughout; a reliable engine driving this energetic track. The breakdown gradually builds to a strong section before the last chorus, led by lead solo vocals, which works really well. The culmination of the song is a huge final push from all members of the band before a very sudden cut; I wasn't sure it worked first-time around but when I re-listened it was quite a brave thing to do and does, in fact, work and work well. A great opener to the EP.

Track 2/Chinos/ The first of the band's singles from the EP features prominently, and is a great throw-back to fast and fun pop-punk bands ranging from Blink 182 to Avril Lavigne; the lyrics smack of teenage-heartache whilst the music reveals no let-up and drives along, pulled furiously by the crotchet snare strokes which are as relentless as the song itself. The breakdown section again showcases some great lead-guitar work before it bows out to allow the lead vocals to lead into the final chorus and a great tapping-guitar solo, mixes of half and double-time rhythms, huge cymbals, frantic bass lines and anything else they could think to throw into the mix. Huge, and another great pop-punk song worthy of it's single-status.

Track 3/Lost/ Discerning, winding guitar leads us into the mid-way point of the CD eventually making way for steady chugging, palm-muted guitars and dual-layered lead vocals. The chorus is equally as strong as its EP-counterparts and musically shows a great awareness of writing for the genre. The lead guitar definitely leads this track though, returning to its hook before the second verse; it's setting up for one hell of a solo. The breakdown is very much led by the vocals, with a great heavy beatdown section which unfortunately doesn't lead to the blistering guitar solo I expected which is the only thing the track is missing. The vocals bring the song home and it ends as it begins with the lead guitar line, although personally I'd have preferred it if the lingering note hadn't been resolved, creating a feeling of unease with the listener but this is a minor, and most importantly, personal opinion.

Track 4/Alaska/ A great and strong-sounding chord progression accompanied by huge drums provide a great intro, as the track drops dynamically in the first verse and progressively builds from there before it reaches the same energy apparent in the intro in the great sounding chorus. The band have defiintely honed their sound, tipping their hats to tried and tested writing techniques of pop-punk greats and pull it off really well. I love the breakdown sections with the held-back dual-vocals shared between the lead and backing before they become a little more desperate and push a little more as the music progresses further into a slick outro.

Track 5/Make Do, With You/ I've sung the praises of this track before, very much the leading song on the EP which not only stands out coming from my speakers, but holds it own in a live setting too with a great singalong chorus. This was proven by the droves of loyal supporters at the EP launch show as they sung 'I've got so much left to say, why won't you tell me anyway' at the tops of their voices. Back to the EP and a hi-fi guitar sound introduces arguably the band's strongest song. We're sucked out of the vortex and released among the huge full-band sound as the verse gathers speed (not literally, the drummer is holding down the groove and doing a great job!) before the chorus explodes onto the scene complete with well-supportive backing vocals and great vocal melodies. The obvious hook of the track makes up the breakdown section; they conflict slightly when the lead vocals come back in briefly but this might be more a case of levels in the mix rather than the actual idea. The band tease at an ending before we're dragged back around again one more time. The drum outro I feel could have been longer layered with loads of reverb to give it a huge sound but it's a cool idea.

Track 6/Chinos/ It's been a relentless ride with the Four Weeks Inbetween crew and much-needed rest is sought in the acoustic version of an earlier-featured track which is a great move. It really allows the lead vocals to showcase themselves in among so much more space and sheds the entire song in a whole new light. It works equally well as an acoustic ballad and I'm glad they included it at the end to round-off a really professional-sounding EP. They work around the guitar solo section well with a much calmer offering and I love that they revisit this at the end, leaving a really positive final thought with the listener. In all, a really strong sounding CD that I hope paves more of a path for this band who are well on their way to making a name for themselves as long as the pop-punk genre remains strong for a little bit longer, providing a leap-pad for them and their infectious tracks.

For more info, be sure to visit the band's website and keep up to date with them on Facebook.

The City Calls - A Spark To Ignite EP Review

Fans of pop-punk's freshest hipsters The City Calls have a mere matter of days to wait now for the release of the anticipated 'A Spark To Ignite'. I was lucky enough to get an advance listen, and for fans of the band or simply the genre alike, I can tell you won't be disappointed.

1/Get Away/ An explosive start to the CD with loads of great guitar work going on parts for the fantastic and mature vocals that lead the way into the first verse. The space allowed by the rest of the band creates a great listening platform to really listen to the lyrics before the energetic chorus burts onto the scene, featuring key-lyric 'You'll never bring us down' teasing in the background. This becomes the feature of the track after a slightly-more relaxed breakdown and a sure-fire singalong at live shows.

2/Kings/ The band have definitely mastered the art of creating a hook, as the second tracks starts as explosively as the first, drawing us in with all guns blazing. The dual-vocals work great here, tipping their caps to their pop-punk knowledge knowing exactly what works and also, what people expect to hear. There's definite Panic! influences in the vocals as the imaginative pre-chorus parts way for another really strong sounding chorus. The track peaks and dips in all the right places; were it too relentless, the effect on the listener is that of being punched in the face by this constant wall of sound but TCC have got it just right. The outro is cool too!

3/Truth or Dare/ A key-sounding song placed strategically in the middle of the EP which maintains the listener's interest without having to stray too far from the overall sound of the CD. The song-writing is really showcased here with a great mix of original ideas and, again, the predictable parts which are equally important. The vocals in the chorus are fantastic; great lyrics and a melody that are once again sure to rouse a singalong and also stick in your head for the rest of the day. The progressive breakdown section builds steadily before leaving the listener dangling in the eye of the storm as one last chorus springs us back to life, setting the wheels in motion for one final go round. A truly great pop-punk track.

4/Kryptonite/ Surely only an exclusively-student band could release a track of this name, although I'm not sure whether it's more reflective of the radioactive element or the dodgy student-favoured cocktail. Either way, this train is showing no signs of slowing as it thunders along onto track 4 that still has my feet tapping and head nodding along approvingly. This track feels to be all about the vocals and it's a great performance which doesn't take away from the imaginative guitar work going on in the background. It's quite brave to feature such a long solo-drum breakdown that doesn't particularly build but it sets up the great-sounding call and response section between the vocals and their backing really well.

5/Lucky Start/ I love the sound of the guitar intro; quite different sounding to everything that's come previously before it, which can be said for the progression and overall sound of the full track that follows. It's evident that the band rely heavily on the use of huge-sounding backing-vocals which definitely pay their dues at live shows; the audience always feel an important part of the gig. I really like this track which stands out for all the right reasons and love the short drum burst before the final chorus.

6/Meet In The Middle/ Already the journey is ending; the station is in sight and I fear we're in for a sudden halt rather than a gradual slow and this sums up the EP as a whole. It's been an energetic ride which hasn't failed to showcase mature-song writing abilities and fantastic musicianship along the way. The final track doesn't disappoint, continuing the trend of the preceding tracks and drives along nicely. Another great mix of double-time and half-time feels to maintain interest in the track feature whilst lending their sound well to the genre and the drawn-out vocal note just before the end is fantastic. This is another great release from The City Calls who should definitely not be underestimated and are surely well on their way to greater things.

You can purchase a copy of the EP from I Am Mighty Records or via the band's BigCartel stores, or it will be available to download from 12th August from iTunes and other digital outlets. Happy listening!

EP Review: The Joe Public - Skin

Before I begin, I have to admit a slight biased towards this particular EP. I grew up with the Joe Public lads, having played in a band with one of them for a few years. That aside, I was very pleased to finally get my hands on Skin, their debut release. Having moved from Somerset, their central hub, I haven't seen them live for months and months but had lots of fun listening to their EP. The guys are young, talented and, most importantly, keen as hell, and their live shows are packed with more venom and energy than...well a place with lots of venom and energy. I guess an angry snake pit. Alas, I digress.

Skin - It's a busy intro; the guitars are killer and sending me into a bit of a warp but the equally-quick rhythm section tie everything down as the vocals drop in. They are excited, almost rushed but in a good way, it's almost blink-and-you'll-miss it with all the ferocity and bustle of a busy highstreet somewhere in downtown NY, and it sounds like Incubus are playing somewhere close by, or at least Brandon Boyd. Beneath all this however, it's grooving really nicely, and chilling wonderfully into a teasing pre-chorus (nice backing vocals), before dropping the chorus-bomb. And boy, does it drop. With all of the ferocity of the verse times ten, it's a hook you'll be humming long after the CD is finished playing. The vocals are strong yet different, unlike anything really out there at the moment, I sense there's something special here. The bridge establishes slightly calmer ground but not for long; this song's all about the chorus.

Take What's Yours - A piano driven ballad not in compound time? Already it's different, it's interesting, it's something new once more. The track is gentle, far gentler than it's predecessor, almost soothing with warm, floaty keyboard sounds but the guitar stays true; I can sense the slight John Mayer influences if you dig really deep, but Mike Einziger and John Fruiscante are closer to the surface. The track's almost a musical interlude; the vocals are sparse but heavily layered which fit the style perfectly and the drums are brilliantly tight; each fill a quick snatch and always there back into the groove deliciously. It's a short song, but there's nothing I would change.

Stumbling - Another piano intro, this time with the edition of strings. It's like wandering into a dream, stumbling into someone else's fantasy. This fantasy belongs to Jake Meeking, but I don't feel like I'm intruding. The vocal performance is sublime, and it's just perfect when the acoustic guitar picks it's way delicately alongside the keys. I feel the urge they've resisted in delaying the drums' big introduction; it would have been too easy to sidle in at the beginning of verse two but, through holding back, this just makes the track. And when the drums do come in, the groove is a hand-picked delight. If I close my eyes I can picture this as a soundtrack to a crucial farewell/self-realisation type scene in a movie. Wonderful.

Solution - This is the last roll of the dice for the Joe Public guys, the final track on the EP, the lasting memory as the CD stops spinning. I love the delay on the lead guitar, with the obscure tones of the second guitar sliding easily in the background. With all the angst of Skin, I'm surprised that the other three tracks have lacked in such bite, but this isn't at all to take anything away from the rest of the EP; it's a work of art that everyone in The Joe Public camp should be very proud of. This is almost a power-ballad, the rhythm section this time more driving in the choruses with the guitars divulging in some really cool and funky guitar licks pre-verse. The track has come alive now and I realise it's a perfect ending to the EP, there must have been a lot of thought into the track order but I think they've got it right. Coming out of the second chorus, the lead guitar picks us and takes us round the riff, branching out further and further into a solo almost in desperation, I get the feeling it's tied down slightly, with just a little less space to really go for it than is required. The track has a cool ending too; the chorus fades away as the piano is left to seal off a great track and a really great CD.

If you enjoyed my review and would like to hear more from The Joe Public, please visit their Myspace page or, alternatively, catch them live:

18 Feb 2010 -  Moles Club, Bath
4 Mar 2010 - Hope & Anchor, Islington, London
5 Mar 2010 - The Patriot, Newport
11 Mar 2010 - Fleece, Bristol
12 Mar 2010 - Corn Exchange, Devizes
13 Mar 2010 - Guildhall, Gloucester
15 Mar 2010 - Cavern (TBC) Exeter
18 Mar 2010 - Perfect 5th, Taunton
19 Mar 2010 -  Champions, Bournemouth
24 Mar 2010 - Rifleman’s Arms, Glastonbury
25 Mar 2010 - The Lock Up, Frome
26 Mar 2010 - Teenage Kicks @ The Furnace, Swindon
22 Apr 2010 - Powers, Kilburn, London
11 May 2010 - Perfect 5th, Taunton
14 May 2010 - Avenue, Newbury